dissertation free images

Images for Dissertation

Getting started.

Congratulations on your forthcoming dissertation! Please note that the Visual Resources Center (VRC) staff are not lawyers and we cannot provide you with legal advice. However, the VRC can provide you with helpful information about including images in your dissertation. 

This guide outlines the general workflows associated with tracking your images you’d like to use for future publication, and outlines the ways the VRC can collaborate with you to support your dissertation. We invite you to begin discussing images for your dissertation with the VRC as early as possible, including at the dissertation proposal phase. Our services and resources for managing personal image archives may be useful for your fieldwork and research. The latest we can begin collaborating with you on images for your dissertation is one quarter before your dissertation will be filed with the Dissertation Office. You are welcome to work with us in some or all elements of the lifecycle of your dissertation—it is not required to opt-in to all aspects. Likewise, the different components do not necessarily need to proceed in a particular order, and some work can happen simultaneously or in parallel with other phases of the workflow. 

This service is offered to graduate students in the University of Chicago Humanities Division as a parallel to our Images for Publication service , which is available to graduate students and faculty in the University of Chicago Humanities Division.  [Last updated 5/2/2024]

Campus Resources

Dissertation Office

Copyright Information Center

Check-In with the VRC

Book an appointment to discuss your dissertation project and how the VRC can help you move forward with images. Before our meeting, we’ll review any materials you can share and make some notes. We can help conduct copyright assessments, direct you to resources, and do some light research into potential copyright holders. However, we cannot send permissions requests on your behalf. 

Before meeting with a VRC staff member, please share any materials you’ve assembled, including an image list, captions, image files themselves, etc.

Create a Spreadsheet

The VRC recommends tracking the images used in your dissertation in a spreadsheet, where you can include information about each image, including the caption, the copyright status, a fair use justification (where appropriate), the image size, and other notes. 

The VRC uses this template —if you have a Figure List for your dissertation, the VRC can import that into a spreadsheet for you. If you’d like to start your own spreadsheet, you can make a copy of the template and adapt/expand it for your own purposes. The second tab of the template defines the role of each field in the template.

Choosing to file your dissertation with all, some, or no images is ultimately up to you. The VRC can offer advice about images you may want to include or exclude. Regardless of which images are submitted with the dissertation, tracking all of the images in the spreadsheet will help in selecting images for future publications.

When you go to publish the dissertation as a book, your publisher will likely ask you to complete a similar spreadsheet known as a permissions log. The VRC’s template was designed with publishers’ permission logs in mind, which will hopefully set you up nicely to pursue any official permissions for the book project. 

Keeping track of your complete research images sooner rather than later will be an important part of managing your personal image archive . If you haven’t been tracking images previously, doing this work at the dissertation filing stage will save you a lot of time when it comes time to publish this as a book or article, etc. Platforms like Tropy, Airtable, Google sheets, etc. can also easily export information into templates to track your dissertation/publication information.

Image Captions

Citing each work properly, and in sufficient detail, is critical. When using photographs of other works (e.g., paintings, sculptures, other works of art), it is necessary to assess the copyright status of both the underlying work itself and the photographic reproduction of the work. In such cases, it’s important to fully cite where your image of the work came from , either in the caption or in your own records . For example, if an image was scanned from a book, you may or may not need to provide a full citation of the text, including page number. If it’s from an archive, include all identifying information available to you, including the name of the papers, series, box, folder, etc. If you obtained the image from a website, individual, or institution, it is important to note that as well. Include rights information, such as Creative Commons licenses or other permissions notes. Note that the original source of the image should be included in the citation. If the image was posted to a third-party website (such as a blog), you will need to find where the website sourced it from. 

We recommend you review the University-Wide Requirements for the Ph.D. Dissertation , whi ch includes formatting requirements, and “ Citing Images ,” in  Images: A Guide to Visual Resources which is maintained by Arts Bibliographer Nancy Spiegel in collaboration with VRC staff. Additionally, Chapter Three in the Chicago Manual of Style includes a detailed discussion of captions for art works and examples of usage. University of Chicago users have access to the full text online using the Quick Link on the Library home page . The VRC also recommends the CAA Publications Style Guide , which provides instructions on formatting captions as well as robust examples for a variety of work types, including architecture, book illustrations, engravings, installation views, interiors, manuscript illuminations, murals, paintings, performances, photographs, scrolls, sculptures, video games, video stills, and woodcuts. There may also be discipline and/or sub-field specific conventions and best practices as to what information should be included as part of a source statement, and we rely on you and your faculty to be familiar with those conventions. The VRC invites you to explore our resource on Image Citations and Captions , which includes also a discussion of citational ethics.

Creative Commons Licenses

Many museums and other image archives are making digitized versions of the collections available through Creative Commons licenses . Creative Commons (CC) provides six different license options that allow institutions to grant users certain permissions to use their work under copyright law and allow users to quickly identify what they can do with particular works. 

CC BY-NC 4.0

A frequently used license for cultural heritage materials is the CC BY-NC 4.0 . For content made available under the CC BY-NC 4.0 license, users may “copy and redistribute the material in any medium or format” if the image is appropriately cited and if the use is for non-commercial purposes.

Proper attribution under the CC licenses means that you must provide the name of the creator, the title of the material if supplied, a copyright notice, a license notice, and a link to the material. It is important to read, understand, and comply with the attribution terms of the applicable CC license.

Your use of the material is scholarly, not commercial. However, your dissertation will be available through ProQuest dissertation publishing. ProQuest is a commercial organization, not a non-profit. ProQuest can make and sell copies of your dissertation if individuals request a copy. It is up to you to assess the copyright and decide if your use is in the spirit of the license and whether to include the material in the filed dissertation or not.

Copyright Assessment

Next, you must conduct a copyright assessment and/or fair use analysis for each image. If you’d like, VRC can assist with an initial review of the images you intend to include in your dissertation. We would assess the copyright status of the work and of the image separately, because in some cases the rights holder for the work depicted in the image may be separate from the image rights holder. Please note that you will need to carefully review this initial assessment. Where permissions are required, the VRC can help advise with your strategy and language, but you will need to coordinate all licensing and permissions efforts with the relevant copyright holders.

Be sure to take note of any copyright statements, licenses, or other rights information provided by the image source. In addition to needing to include that information in the caption or citation, we recommend that you also vet the information provided against your own knowledge of art and image copyright using the recommended resources below. Occasionally, individuals or institutions may attempt to claim rights over the work or the image when it is in the public domain or when there are no additional rights to claim. (For example, claiming copyright over a reproduction image made from a scan or photograph of a 2D work of art that’s in the public domain, or supplying a CC-BY-NC license over a work that is in the public domain and should have been presented under a CC0 license instead.)

Resources for Assessing Copyright Status

• Copyright Term and the Public Domain in the United States
• Digital Copyright Slider: Is it Protected by Copyright? For works published in the U.S.A.
• Digital Image Rights Computator
• Copyright and Your Dissertation or Thesis: Ownership, Fair Use, and Your Rights and Responsibilities (ProQuest)

Sample Language for Noting Work Copyright Status

The underlying work depicted in the image (ie, the work of art) will typically be listed as Copyrighted or Public Domain. Include the full rights statement provided by the institution in the work or copyright status field, as appropriate, and in the caption as well.

Sample Language for Noting Image Copyright Status

The image reproduction of the artwork may have its own copyright considerations. Some sample language for noting image copyright status include:

• Photograph by the author (you are the copyright owner of a photograph you have made)
• Copyright statements or credit lines from the copyright owner, such as “© Albert Renger-Patzsch Archiv / Ann u. Jürgen Wilde, Zülpich / Artists Rights Society (ARS), New York?”
• N/A: This is a faithful photographic reproduction of a two-dimensional work of art.
• N/A: CC0 license (or similar Creative Commons designation)
• N/A: Open access use

Other Permissions Considerations

There might be additional considerations in addition to copyright-related issues that you may need to make. For example, if your photographs have people depicted in them, you may want to request their permission for publishing their likeness. Additionally, if your images depict sensitive materials or cultural objects, they might require additional permissions. The VRC maintains a page on Ethical Considerations for Images that we invite you to explore for more information.

Fair Use Analysis

For works and/or images that are copyrighted, conduct a fair use analysis to see if you can justify your use of the image in your justification. The VRC follows the CAA Code of Best Practices in Fair Use for the Visual Arts . Section One of the code outlines the situations, principles and limitations of using images fairly in analytic writing.

If you intend to use an image under fair use in your dissertation, you should prepare a justification for that claim of fair use in your tracking spreadsheet.

The United States Copyright Act provides a framework to determine whether the use of copyrighted materials constitutes a “fair use” based upon a consideration of the following Four Factors:

• Purpose and character of your use, including whether the use is of a commercial nature or is for nonprofit educational purposes;
• The nature of the copyrighted work you want to use;
• The amount and substantiality of the portion of the work that you used in relation to the copyrighted work as a whole;
• The effect of your use upon the potential market for or value of the copyrighted work.

The United States Copyright Office provides useful guidance for understanding this analysis.

Where you plan to assert fair use of a copyrighted work, you will want to provide a justification supporting your analysis. We recommend consulting the guidance outlined in the CAA Code of Best Practices for Fair Use when drafting your analysis. Include as many phrases that are relevant to your specific use.

For example: 

• The use of the work in its entirety is crucial to the argument outlined on pages x-y because 123. The scan is a high-fidelity copy of a work published in 1975, with accurate color and cropping. The image size is 1536 pixels on the long edge and 72 ppi, a resolution suitable for use in papers, PDFs, and classroom projection but not reproduction. I have cited the image in the caption, figure list, and within the text.

For images that are copyrighted and where fair use does not apply, you will need to identify copyright holders and obtain permission to publish these images in your work.

Please note—even where you believe you have a defensible argument that you use of an image would qualify for “fair use”, you may still wish to pursue getting permission to publish images, for example, in order to maintain a good relationship with an artist or institution or where you are aware that a rights holder is especially aggressive in taking action against unlicensed use of its copyrighted material.

Requesting and Obtaining Permissions

There may be copyrighted images for which you need or want to request permission from the copyright holder to use the images in your Dissertation. You will want to send a written request for permission to the copyright holder or its representatives (such as ARS ). Make sure to include information requested by the press including print run, distribution, online access, etc. Save a copy of your correspondence to a central folder, and indicate in your permissions log when you contacted them for permission. Set a reminder to follow-up on your requests in 2 weeks if you have not yet heard back from them.

Please review the VRC’s guide to Copyright Resources for Academic Publishing for more information on identifying rights holders and templates and sample language for requesting permission.

Create a Shared Box Folder for Images

We recommend setting up a shared Box folder for your publication and sharing it with VRC staff. This will allow us to review your images, share new image files with you if necessary, and collaborate easily. 

Image Quality Assessment

Review the image quality and specifications of each image based on the guidelines from the press. For example, many press guidelines suggest the following:

• Color images: tiff files that are at least 300ppi and printable at 4x6” or larger
• Grayscale images may require higher ppi than color images
• Line drawings: may be required in vector format, such as .indd files from Adobe InDesign or .ai files from Adobe Illustrator. The VRC and/or Academic Technology Services may be able to assist with drawings. Please write to the VRC for more information.
• Film stills captured from DVD and Blu-Rays may need to be artificially upsampled in order to meet the press specifications, although if you can create them on a 27” desktop monitor rather than a laptop screen they may be sufficient size for publication.

VRC staff may be able to assess the quality of your images for you if you do not have access to Adobe Photoshop and depending on the size and scope of your project. 

If your images aren’t publication quality, they may still be sufficient for inclusion in your dissertation. For example, lower-resolution images, including jpegs or pngs, may look good in the PDF of the filed dissertation but may not be high enough quality to submit to an editor for a print run of a published book. Please write to the VRC to discuss requesting new images and/or help editing existing images. he VRC can also assist with creating custom digital images for your publication, including line drawings, image stitching, maps, and diagram creation.

Note: Resolution is a relative value. Image resolution and image size are inversely proportional. Knowing the output or print size required by the publisher will help assess whether your images are up to publication quality. We recommend reviewing image size in Adobe Photoshop. Their Image Size tool allows you to explore what size images can be printed at different resolutions by unchecking the “Resample” button. Downsampling (ie, making an image smaller) is acceptable, but we do not recommend upsampling (ie, adding arbitrary pixels to make an image larger). 

For use in a PDF, we typically look for at least 1500 pixels on the long edge of the image at at least 72 ppi. If you have access to Adobe Photoshop, this can be checked under Image Size, otherwise if you have the image saved to your computer you can find the dimensions under “Get Info” or “Properties.”

Add Your Images to LUNA

If the images you’re publishing are relevant to future teaching and research, but aren’t yet well-represented in the departmental image collection, we welcome the opportunity to collaborate and we invite you to contribute your images to the Art History Department Image Collection in our LUNA database. If you’re interested in pursuing this collaboration, we can embargo the images for up to 5 years before making them available in LUNA if you would like.

Photographs and Images: Using Images in Theses and Dissertations

• What is Fair Use?

Using Images in Theses and Dissertations

• How to Cite an Image
• Copyright and Publishing an Image in a Book, Journal, Video, etc.
• Images of Albuquerque

Historically, images were reproduced in dissertations and theses without obtaining permissions from the copyright holders. Because of the clearly academic, non-commercial nature of theses and dissertations, and because access to theses and dissertations was typically confined to an academic, library setting, there seemed to be little dispute that the incorporation of such images into these or dissertations was a fair use.

As theses and dissertations began to be posted to online repositories, the publishers of those repositories sometime required that graduate students posting theses to their repositories obtain copyright permissions for images. While UNM's Digital Respository   does not have an institutional policy on the use of images in theses and dissertations, the  UNM Office of Graduate Studies  stipulates that students should obtain copyright.

The Office of Graduate Studies at UNM offers the following guidelines:  

Registering Your Copyright

Registering your copyright in your thesis or dissertation is optional. Under current United States copyright Law, the moment you reduce a work to a tangible medium (i.e., write it on paper, save on hard drive or other storage device, take the photograph, record the music, etc.) your thesis or dissertation is copyrighted. This applies to unpublished manuscripts as well. There is no longer the need to register your work for copyright to attach. Furthermore, there is no longer the requirement of putting a copyright notice on a work for it to be copyrighted. You may register your copyright either by having ProQuest do so (see above) or on your own by submitting a registration form, which you can pick-up at Zimmerman Library Government Publications or download from US Copyright Office's web page, with a check for thirty five ($35) dollars, and two copies of your thesis or dissertation. Additional information can be obtained by calling 202-287-8700 or going to the web site of the  United States Copyright Office .

Including Copyrighted Material in Your Manuscript

You should remember that if you quote or otherwise reproduce in your thesis or dissertation material previously copyrighted by another author, beyond brief excerpts, you must obtain written permission from the copyright owner. Keep in mind that if a work was created in or after 1989, there is no requirement that it have a copyright notice to be copyrighted This includes foreign works and foreign works for which the copyright has been reinstated pursuant to international treaty.

Copyright law is extremely complex and it can be difficult to determine what action you need to take and where to begin looking for permissions. The Office of Graduate Studies  Publishing  web site contains a great deal of information and has been helpful to students. The Office of Graduate Studies does not provide copyright advisement.

Pictorial Archivist

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• Last Updated: May 5, 2020 2:46 PM
• URL: https://libguides.unm.edu/images

Pumerantz Library Research Guides

Research assistance, subject guides, & useful resources, theses and dissertations: reusing copyrighted material.

• Introduction
• Writing Your Thesis or Dissertation
• Reusing Copyrighted Material

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What Do I Need Permission For?

You generally DO need permission to:

• Reuse a survey or assessment instrument created by another person
• Reprint a table, figure, or image from a book or journal article
• Reprint a copyrighted image from the Internet (assume all images are copyrighted unless stated otherwise)
• Make modifications to a copyrighted image or an image released under a Creative Commons No Derivatives license
• Reprint copyrighted images or images released under a Creative Commons Non-Commercial license in a book, journal, or other commercial venue

You generally DO NOT need permission to:

• Quote brief excerpts from a scholarly work
• Reprint images released under a Creative Commons license
• Make modifications to images released under Creative Commons licenses that do not contain " No Derivatives "
• Reprint images released under Creative Commons licenses that do not contain " Non-Commercial " in a book, journal, or other commercial venue
• Reuse any work that is in the public domain

Finding Permission-Free Images

Pumerantz Library's Medical Images & Videos research guide has a section dedicated to resources for finding public domain and Creative Commons-licensed images. 

You can also limit Google Images searches to images you can freely reuse or modify for commercial or noncommercial purposes:

Citing Images

A citation for an image or figure should have the following:

• Title of the image
• Author or creator of the image
• Source of the figure or image 
• Copyright or Creative Commons license
• "Reprinted with permission from [Copyright holder]' (if relevant)
• Description of any modifications to the image (if relevant)

Sample citations for Creative Commons images can be found here .

If the original source is a book or journal, include the full citation for the source, not just a URL (even if you originally retrieved the work online). More information about book and article citations can be found on the Pumerantz Library's Citation Style research guide .

If the original source is a website, embed the link to the title rather than typing out the full URL in the citation.

How Do I Request Permission to Reuse Material?

Who owns the copyright?

• Journal articles: The copyright owner is usually the journal (or the journal's publisher), not the author. 
• Books: The author usually retains the copyright, but the publisher generally handles reprint requests. 
• Websites: This can be tricky to determine. Some websites create all their own content, including images, and own the copyright on everything on the site. Other websites, like blogs or aggregator sites, may use images and other content from multiple sources. You can paste the image's URL into a reverse image search to track down the original copyright owner.

How do I contact the copyright owner?

• Journal articles: You can often find a link on the article's website that says something like "Get rights" or "Request permissions." This will take you directly to a page where you can request permission. If not, you can usually find a "Contact us" link on the journal's home page and submit the request that way.
• Books: You can contact the publisher using the mailing address listed on the copyright page of the book or look for a "Contact us" or "Request permissions" link on the publisher's website.
• Websites: If you are fairly sure the website is the original owner of the content you want, use the "Contact us" form or other contact information listed to submit your request. If the website is not the owner, try to find contact information for the original creator--a link to the owner's site is often embedded in their name, if it is listed.

How long does it take to hear back?

It depends! In some cases, you will hear back in a few days. Other times, you may hear back in weeks, months--or never. It is a good idea to give yourself at least a month or two if you can.

Will I be charged a fee to reuse material?

Again, it depends on the copyright owner. Many creators and publishers will allow students to reuse items in their theses or dissertations for free. Others may charge a nominal fee or fees ranging in the hundreds of dollars.

What are my options if permission is denied or too expensive--or if I just never hear back?

It is a good idea to have a backup plan, like another permission-free image or a brief written description of the desired figure (in your own words) to use instead. If only the original material will work, you can consider appealing (once, and politely) to the copyright owner. If this does not work, you may need to cut the material altogether.

Can I just redraw the figure myself? Then I'll have the rights to the image, right?

No. This is legally murky at best (if you redraw the image in a completely different way) and shady/illegal at worst. Use one of the solutions listed above instead.

Copyright and permissions can be difficult to navigate. If you need help, please email  Kelli Hines  or use the icons above to contact one of the reference librarians.

Even More Research Guides

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• Last Updated: Aug 29, 2023 3:15 PM

• USC Libraries
• Research Guides

Using Images and Non-Textual Materials in Presentations, Papers, Theses, and Dissertations

• Documenting and Citing Images
• Finding Images - Select Sources

Documenting and Citing Images/Photographs and Their Sources

Please note that this is advice on best practices and considerations in documenting and citing images and non-print materials. It does not represent legal advice on obtaining permissions.

Generally, images copied from other sources should not be used without permissions in publications or for commercial purposes. Many American academic institutions require graduate students to archive their finished and approved theses/dissertations in institutional electronic repositories and/or institutional libraries and repositories, and/or to post them on Proquest's theses database. Unpublished theses and dissertations are a form of scholarly dissemination. Someone else's images, like someone else's ideas, words or music, should be used with critical commentary, and need to be identified and cited. If a thesis/dissertation is revised for publication,  waivers or permissions from the copyright holder(s) of the images and non-textual materials must be obtained. Best practices also apply to materials found on the internet and on social media, and, properly speaking, require identification, citation, and clearance of permissions, as relevant.

Use the following elements when identifying and citing an image, depending on the information you have available . It is your responsibility to do due diligence and document as much as possible about the image you are using:

• Artist's/creator's name, if relevant;
• Title of the work/image, if known, or description;
• Ownership information (such as a person, estate, museum, library collection) and source of image;
• Material, if known, particularly for art works;
• Dimensions of the work, if known.

The Chicago Manual of Style online can be searched for norms on appropriate ways to caption illustrations, capitalize titles of visual works, or cite print materials that contain images.

Including images/photographs in a bibliography:

Best practice is to not include images within a bibliography of works cited. It is common, instead, to create a separate list of images (or figures) and their source, such as photographer (even if it's you) or collection. It may be useful to also include location, e.g., museum, geographic reference, address, etc.

Examples of Documenting Images

The image below is scanned from a published book. It can be used in a critical context within a presentation, classroom session, or  paper/thesis, as follows:

[ Figure 1. This photograph from 1990 shows the Monument against Fascism designed by Jochen Gerz and Esther Shalev-Gerz, Hamburg, 1986-1993. Image from James Young, ed.,  Art of Memory: Holocaust Memorials in History (New York: Prestel, 1994), 70]

If you need to use this image in a published work, you will have to seek permission. For example, the book from which this image was scanned should have a section on photo credits which would help you identify the person/archive holding this image.

The image below was found through Google Images and downloaded from the internet. It can be used in a critical context within a presentation,  classroom session, or paper/thesis, as follows:

[Figure 2. This image shows the interior of Bibliotheca Alexandrina designed by the Norwegian architecture firm Snøhetta in 2001. Image downloaded from https://mgkhs.com/gallery/alexandria in March 2016.]

If you want to use this image in a published work, you will have to do your best to track down its source to request permission to use. The web site or social media site where you found the image may not be an appropriate source, since it is common for people to repost images without attribution. Just because "everyone does it" does not mean that you should be using such materials without attribution or documentation. In this specific example, you may need to write to the photographer or to the architecture firm. If you have done due diligence and were unable to find the source, or have not received a response, you may be able to use an image found on the internet with appropriate documentation in a publication.

The image below was downloaded from a digitized historic collection of photographs held by an institutional archive. It can be used in a critical context within a presentation,  classroom session, or paper/thesis, as follows:

[Figure 3. In the 1920s the urban landscape of Los Angeles started to change, as various developers began building multi-family apartment houses in sections previously zoned for single family dwellings. Seen in this photograph by Dick Whittington is the Warrington apartment building, which was completed in 1928, surrounded by older single family structures. Downloaded from the USC Digital Library in February 2016]

I f you plan to use this photograph in a publication, seek permission from the library/institution from whose digital archive you downloaded the image. Contact information is usually found in the record for the image.

The image below was taken by the author. It can be used in a critical context within a presentation, classroom session , paper/thesis, or a publication* as follows:

[Figure 4. Genex Tower, also known as West City Gate, is a residential tower located in New Belgrade. This example of late 20th century brutalist-style architecture was designed in 1977 by Mihajlo Mitrović. Photographed by the author in 2013.]

*Please note, if you re-photographed someone else's photograph or a work of art, or if you re-photographed a published image, you may not be able to publish your photograph without first seeking permission or credit for its content.  If you have done due diligence and were unable to find the source or have not received a response, you may be able to use your image with appropriate documentation.

• << Previous: Fair Use
• Next: Finding Images - Select Sources >>
• Last Updated: Jan 19, 2023 3:12 PM
• URL: https://libguides.usc.edu/fair_use

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Images in Theses and Dissertations

Images used often add to an authors critique or discussion, while offering a visual to help their argument.  If you use an image in your thesis or dissertation, you must cite it.  Before Theses/ dissertations were born digital, they were printed and added to the library of an institution for preservation and add to the collective scholarly community.  When using images, you will need to include commentary on it.  Images should add to one's discussion/ argument.  Fair Use of copyrighted work in print form, generally, was easy to determine for educational purposes.  However, this is not always the case with digital forms which reach a wider audience, because "images can be reproduced easily, users may copy and paste images repeatedly without realizing they are committing copyright infringement (Kennedy, 2015)."

If under copyright protection, as a best practice, you should gain permission to use it especially if you plan to publish your work later.  You must give credit where credit is due, even if it is your own work from a previous publication or class work. Images include, but are not limited to, drawings, paintings, photographs, tables, graphs, and charts.   Images fall into several categories: public domain, fair use, Creative Commons (CC), or used with permission.  If an image is under a CC license, pay close attention to the allowances set up by the creator.

For copyrighted works you will need to contact the person, publisher, or other entities who hold the rights to it.  Publishers may have a form you need to fill out for the request.  Artists generally have a personal website in which an email is provided or a contact form.  When a form is not already available for a request to reproduce you will need to include as much information as you can in your request.  

• What image(s) you want to use.
• If you do plan on publishing your work later, include that too.  This will help you in going through the publishing process in the future.
• Include the thesis/ dissertation will be published electronically and included in the Mississippi State University Institutional Repository.

Keep in mind, you may have to pay a fee to use the image(s) if it is under copyright.

Further Reading:

Standards and Guidelines by the College Art Association

Statement on The Fair Use of Images for Teaching, Research, and Studying by the Visual Resource Association

ProQuest: Copyright and Your Dissertation or Thesis: Ownership, Fair Use, and Your Rights and Responsibilities

ProQuest: Copyright and Your Dissertation or Thesis   (Includes request sample letter)

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• Last Updated: Apr 9, 2024 7:41 AM
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How To Write A Dissertation Or Thesis

8 straightforward steps to craft an a-grade dissertation.

By: Derek Jansen (MBA) Expert Reviewed By: Dr Eunice Rautenbach | June 2020

Writing a dissertation or thesis is not a simple task. It takes time, energy and a lot of will power to get you across the finish line. It’s not easy – but it doesn’t necessarily need to be a painful process. If you understand the big-picture process of how to write a dissertation or thesis, your research journey will be a lot smoother.  

In this post, I’m going to outline the big-picture process of how to write a high-quality dissertation or thesis, without losing your mind along the way. If you’re just starting your research, this post is perfect for you. Alternatively, if you’ve already submitted your proposal, this article which covers how to structure a dissertation might be more helpful.

How To Write A Dissertation: 8 Steps

• Clearly understand what a dissertation (or thesis) is
• Find a unique and valuable research topic
• Craft a convincing research proposal
• Write up a strong introduction chapter
• Review the existing literature and compile a literature review
• Design a rigorous research strategy and undertake your own research
• Present the findings of your research
• Draw a conclusion and discuss the implications

Step 1: Understand exactly what a dissertation is

This probably sounds like a no-brainer, but all too often, students come to us for help with their research and the underlying issue is that they don’t fully understand what a dissertation (or thesis) actually is.

So, what is a dissertation?

At its simplest, a dissertation or thesis is a formal piece of research , reflecting the standard research process . But what is the standard research process, you ask? The research process involves 4 key steps:

• Ask a very specific, well-articulated question (s) (your research topic)
• See what other researchers have said about it (if they’ve already answered it)
• If they haven’t answered it adequately, undertake your own data collection and analysis in a scientifically rigorous fashion
• Answer your original question(s), based on your analysis findings

In short, the research process is simply about asking and answering questions in a systematic fashion . This probably sounds pretty obvious, but people often think they’ve done “research”, when in fact what they have done is:

• Started with a vague, poorly articulated question
• Not taken the time to see what research has already been done regarding the question
• Collected data and opinions that support their gut and undertaken a flimsy analysis
• Drawn a shaky conclusion, based on that analysis

If you want to see the perfect example of this in action, look out for the next Facebook post where someone claims they’ve done “research”… All too often, people consider reading a few blog posts to constitute research. Its no surprise then that what they end up with is an opinion piece, not research. Okay, okay – I’ll climb off my soapbox now.

The key takeaway here is that a dissertation (or thesis) is a formal piece of research, reflecting the research process. It’s not an opinion piece , nor a place to push your agenda or try to convince someone of your position. Writing a good dissertation involves asking a question and taking a systematic, rigorous approach to answering it.

If you understand this and are comfortable leaving your opinions or preconceived ideas at the door, you’re already off to a good start!

Step 2: Find a unique, valuable research topic

As we saw, the first step of the research process is to ask a specific, well-articulated question. In other words, you need to find a research topic that asks a specific question or set of questions (these are called research questions ). Sounds easy enough, right? All you’ve got to do is identify a question or two and you’ve got a winning research topic. Well, not quite…

A good dissertation or thesis topic has a few important attributes. Specifically, a solid research topic should be:

Let’s take a closer look at these:

Attribute #1: Clear

Your research topic needs to be crystal clear about what you’re planning to research, what you want to know, and within what context. There shouldn’t be any ambiguity or vagueness about what you’ll research.

Here’s an example of a clearly articulated research topic:

An analysis of consumer-based factors influencing organisational trust in British low-cost online equity brokerage firms.

As you can see in the example, its crystal clear what will be analysed (factors impacting organisational trust), amongst who (consumers) and in what context (British low-cost equity brokerage firms, based online).

Need a helping hand?

Attribute #2:   Unique

Your research should be asking a question(s) that hasn’t been asked before, or that hasn’t been asked in a specific context (for example, in a specific country or industry).

For example, sticking organisational trust topic above, it’s quite likely that organisational trust factors in the UK have been investigated before, but the context (online low-cost equity brokerages) could make this research unique. Therefore, the context makes this research original.

One caveat when using context as the basis for originality – you need to have a good reason to suspect that your findings in this context might be different from the existing research – otherwise, there’s no reason to warrant researching it.

Attribute #3: Important

Simply asking a unique or original question is not enough – the question needs to create value. In other words, successfully answering your research questions should provide some value to the field of research or the industry. You can’t research something just to satisfy your curiosity. It needs to make some form of contribution either to research or industry.

For example, researching the factors influencing consumer trust would create value by enabling businesses to tailor their operations and marketing to leverage factors that promote trust. In other words, it would have a clear benefit to industry.

So, how do you go about finding a unique and valuable research topic? We explain that in detail in this video post – How To Find A Research Topic . Yeah, we’ve got you covered 😊

Step 3: Write a convincing research proposal

Once you’ve pinned down a high-quality research topic, the next step is to convince your university to let you research it. No matter how awesome you think your topic is, it still needs to get the rubber stamp before you can move forward with your research. The research proposal is the tool you’ll use for this job.

So, what’s in a research proposal?

The main “job” of a research proposal is to convince your university, advisor or committee that your research topic is worthy of approval. But convince them of what? Well, this varies from university to university, but generally, they want to see that:

• You have a clearly articulated, unique and important topic (this might sound familiar…)
• You’ve done some initial reading of the existing literature relevant to your topic (i.e. a literature review)
• You have a provisional plan in terms of how you will collect data and analyse it (i.e. a methodology)

At the proposal stage, it’s (generally) not expected that you’ve extensively reviewed the existing literature , but you will need to show that you’ve done enough reading to identify a clear gap for original (unique) research. Similarly, they generally don’t expect that you have a rock-solid research methodology mapped out, but you should have an idea of whether you’ll be undertaking qualitative or quantitative analysis , and how you’ll collect your data (we’ll discuss this in more detail later).

Long story short – don’t stress about having every detail of your research meticulously thought out at the proposal stage – this will develop as you progress through your research. However, you do need to show that you’ve “done your homework” and that your research is worthy of approval .

So, how do you go about crafting a high-quality, convincing proposal? We cover that in detail in this video post – How To Write A Top-Class Research Proposal . We’ve also got a video walkthrough of two proposal examples here .

Step 4: Craft a strong introduction chapter

Once your proposal’s been approved, its time to get writing your actual dissertation or thesis! The good news is that if you put the time into crafting a high-quality proposal, you’ve already got a head start on your first three chapters – introduction, literature review and methodology – as you can use your proposal as the basis for these.

Handy sidenote – our free dissertation & thesis template is a great way to speed up your dissertation writing journey.

What’s the introduction chapter all about?

The purpose of the introduction chapter is to set the scene for your research (dare I say, to introduce it…) so that the reader understands what you’ll be researching and why it’s important. In other words, it covers the same ground as the research proposal in that it justifies your research topic.

What goes into the introduction chapter?

This can vary slightly between universities and degrees, but generally, the introduction chapter will include the following:

• A brief background to the study, explaining the overall area of research
• A problem statement , explaining what the problem is with the current state of research (in other words, where the knowledge gap exists)
• Your research questions – in other words, the specific questions your study will seek to answer (based on the knowledge gap)
• The significance of your study – in other words, why it’s important and how its findings will be useful in the world

As you can see, this all about explaining the “what” and the “why” of your research (as opposed to the “how”). So, your introduction chapter is basically the salesman of your study, “selling” your research to the first-time reader and (hopefully) getting them interested to read more.

How do I write the introduction chapter, you ask? We cover that in detail in this post .

Step 5: Undertake an in-depth literature review

As I mentioned earlier, you’ll need to do some initial review of the literature in Steps 2 and 3 to find your research gap and craft a convincing research proposal – but that’s just scratching the surface. Once you reach the literature review stage of your dissertation or thesis, you need to dig a lot deeper into the existing research and write up a comprehensive literature review chapter.

What’s the literature review all about?

There are two main stages in the literature review process:

Literature Review Step 1: Reading up

The first stage is for you to deep dive into the existing literature (journal articles, textbook chapters, industry reports, etc) to gain an in-depth understanding of the current state of research regarding your topic. While you don’t need to read every single article, you do need to ensure that you cover all literature that is related to your core research questions, and create a comprehensive catalogue of that literature , which you’ll use in the next step.

Reading and digesting all the relevant literature is a time consuming and intellectually demanding process. Many students underestimate just how much work goes into this step, so make sure that you allocate a good amount of time for this when planning out your research. Thankfully, there are ways to fast track the process – be sure to check out this article covering how to read journal articles quickly .

Literature Review Step 2: Writing up

Once you’ve worked through the literature and digested it all, you’ll need to write up your literature review chapter. Many students make the mistake of thinking that the literature review chapter is simply a summary of what other researchers have said. While this is partly true, a literature review is much more than just a summary. To pull off a good literature review chapter, you’ll need to achieve at least 3 things:

• You need to synthesise the existing research , not just summarise it. In other words, you need to show how different pieces of theory fit together, what’s agreed on by researchers, what’s not.
• You need to highlight a research gap that your research is going to fill. In other words, you’ve got to outline the problem so that your research topic can provide a solution.
• You need to use the existing research to inform your methodology and approach to your own research design. For example, you might use questions or Likert scales from previous studies in your your own survey design .

As you can see, a good literature review is more than just a summary of the published research. It’s the foundation on which your own research is built, so it deserves a lot of love and attention. Take the time to craft a comprehensive literature review with a suitable structure .

But, how do I actually write the literature review chapter, you ask? We cover that in detail in this video post .

Step 6: Carry out your own research

Once you’ve completed your literature review and have a sound understanding of the existing research, its time to develop your own research (finally!). You’ll design this research specifically so that you can find the answers to your unique research question.

There are two steps here – designing your research strategy and executing on it:

1 – Design your research strategy

The first step is to design your research strategy and craft a methodology chapter . I won’t get into the technicalities of the methodology chapter here, but in simple terms, this chapter is about explaining the “how” of your research. If you recall, the introduction and literature review chapters discussed the “what” and the “why”, so it makes sense that the next point to cover is the “how” –that’s what the methodology chapter is all about.

In this section, you’ll need to make firm decisions about your research design. This includes things like:

• Your research philosophy (e.g. positivism or interpretivism )
• Your overall methodology (e.g. qualitative , quantitative or mixed methods)
• Your data collection strategy (e.g. interviews , focus groups, surveys)
• Your data analysis strategy (e.g. content analysis , correlation analysis, regression)

If these words have got your head spinning, don’t worry! We’ll explain these in plain language in other posts. It’s not essential that you understand the intricacies of research design (yet!). The key takeaway here is that you’ll need to make decisions about how you’ll design your own research, and you’ll need to describe (and justify) your decisions in your methodology chapter.

2 – Execute: Collect and analyse your data

Once you’ve worked out your research design, you’ll put it into action and start collecting your data. This might mean undertaking interviews, hosting an online survey or any other data collection method. Data collection can take quite a bit of time (especially if you host in-person interviews), so be sure to factor sufficient time into your project plan for this. Oftentimes, things don’t go 100% to plan (for example, you don’t get as many survey responses as you hoped for), so bake a little extra time into your budget here.

Once you’ve collected your data, you’ll need to do some data preparation before you can sink your teeth into the analysis. For example:

• If you carry out interviews or focus groups, you’ll need to transcribe your audio data to text (i.e. a Word document).
• If you collect quantitative survey data, you’ll need to clean up your data and get it into the right format for whichever analysis software you use (for example, SPSS, R or STATA).

Once you’ve completed your data prep, you’ll undertake your analysis, using the techniques that you described in your methodology. Depending on what you find in your analysis, you might also do some additional forms of analysis that you hadn’t planned for. For example, you might see something in the data that raises new questions or that requires clarification with further analysis.

The type(s) of analysis that you’ll use depend entirely on the nature of your research and your research questions. For example:

• If your research if exploratory in nature, you’ll often use qualitative analysis techniques .
• If your research is confirmatory in nature, you’ll often use quantitative analysis techniques
• If your research involves a mix of both, you might use a mixed methods approach

Again, if these words have got your head spinning, don’t worry! We’ll explain these concepts and techniques in other posts. The key takeaway is simply that there’s no “one size fits all” for research design and methodology – it all depends on your topic, your research questions and your data. So, don’t be surprised if your study colleagues take a completely different approach to yours.

Step 7: Present your findings

Once you’ve completed your analysis, it’s time to present your findings (finally!). In a dissertation or thesis, you’ll typically present your findings in two chapters – the results chapter and the discussion chapter .

What’s the difference between the results chapter and the discussion chapter?

While these two chapters are similar, the results chapter generally just presents the processed data neatly and clearly without interpretation, while the discussion chapter explains the story the data are telling  – in other words, it provides your interpretation of the results.

For example, if you were researching the factors that influence consumer trust, you might have used a quantitative approach to identify the relationship between potential factors (e.g. perceived integrity and competence of the organisation) and consumer trust. In this case:

• Your results chapter would just present the results of the statistical tests. For example, correlation results or differences between groups. In other words, the processed numbers.
• Your discussion chapter would explain what the numbers mean in relation to your research question(s). For example, Factor 1 has a weak relationship with consumer trust, while Factor 2 has a strong relationship.

Depending on the university and degree, these two chapters (results and discussion) are sometimes merged into one , so be sure to check with your institution what their preference is. Regardless of the chapter structure, this section is about presenting the findings of your research in a clear, easy to understand fashion.

Importantly, your discussion here needs to link back to your research questions (which you outlined in the introduction or literature review chapter). In other words, it needs to answer the key questions you asked (or at least attempt to answer them).

For example, if we look at the sample research topic:

In this case, the discussion section would clearly outline which factors seem to have a noteworthy influence on organisational trust. By doing so, they are answering the overarching question and fulfilling the purpose of the research .

For more information about the results chapter , check out this post for qualitative studies and this post for quantitative studies .

Step 8: The Final Step Draw a conclusion and discuss the implications

Last but not least, you’ll need to wrap up your research with the conclusion chapter . In this chapter, you’ll bring your research full circle by highlighting the key findings of your study and explaining what the implications of these findings are.

What exactly are key findings? The key findings are those findings which directly relate to your original research questions and overall research objectives (which you discussed in your introduction chapter). The implications, on the other hand, explain what your findings mean for industry, or for research in your area.

Sticking with the consumer trust topic example, the conclusion might look something like this:

Key findings

This study set out to identify which factors influence consumer-based trust in British low-cost online equity brokerage firms. The results suggest that the following factors have a large impact on consumer trust:

While the following factors have a very limited impact on consumer trust:

Notably, within the 25-30 age groups, Factors E had a noticeably larger impact, which may be explained by…

Implications

The findings having noteworthy implications for British low-cost online equity brokers. Specifically:

The large impact of Factors X and Y implies that brokers need to consider….

The limited impact of Factor E implies that brokers need to…

As you can see, the conclusion chapter is basically explaining the “what” (what your study found) and the “so what?” (what the findings mean for the industry or research). This brings the study full circle and closes off the document.

Let’s recap – how to write a dissertation or thesis

You’re still with me? Impressive! I know that this post was a long one, but hopefully you’ve learnt a thing or two about how to write a dissertation or thesis, and are now better equipped to start your own research.

To recap, the 8 steps to writing a quality dissertation (or thesis) are as follows:

• Understand what a dissertation (or thesis) is – a research project that follows the research process.
• Find a unique (original) and important research topic
• Craft a convincing dissertation or thesis research proposal
• Write a clear, compelling introduction chapter
• Undertake a thorough review of the existing research and write up a literature review
• Undertake your own research
• Present and interpret your findings

Once you’ve wrapped up the core chapters, all that’s typically left is the abstract , reference list and appendices. As always, be sure to check with your university if they have any additional requirements in terms of structure or content.  

Psst... there’s more!

This post was based on one of our popular Research Bootcamps . If you're working on a research project, you'll definitely want to check this out ...

You Might Also Like:

20 Comments

thankfull >>>this is very useful

Thank you, it was really helpful

unquestionably, this amazing simplified way of teaching. Really , I couldn’t find in the literature words that fully explicit my great thanks to you. However, I could only say thanks a-lot.

Great to hear that – thanks for the feedback. Good luck writing your dissertation/thesis.

This is the most comprehensive explanation of how to write a dissertation. Many thanks for sharing it free of charge.

Very rich presentation. Thank you

Thanks Derek Jansen|GRADCOACH, I find it very useful guide to arrange my activities and proceed to research!

Thank you so much for such a marvelous teaching .I am so convinced that am going to write a comprehensive and a distinct masters dissertation

It is an amazing comprehensive explanation

This was straightforward. Thank you!

I can say that your explanations are simple and enlightening – understanding what you have done here is easy for me. Could you write more about the different types of research methods specific to the three methodologies: quan, qual and MM. I look forward to interacting with this website more in the future.

Thanks for the feedback and suggestions 🙂

Hello, your write ups is quite educative. However, l have challenges in going about my research questions which is below; *Building the enablers of organisational growth through effective governance and purposeful leadership.*

Very educating.

Just listening to the name of the dissertation makes the student nervous. As writing a top-quality dissertation is a difficult task as it is a lengthy topic, requires a lot of research and understanding and is usually around 10,000 to 15000 words. Sometimes due to studies, unbalanced workload or lack of research and writing skill students look for dissertation submission from professional writers.

Thank you 💕😊 very much. I was confused but your comprehensive explanation has cleared my doubts of ever presenting a good thesis. Thank you.

thank you so much, that was so useful

Hi. Where is the excel spread sheet ark?

could you please help me look at your thesis paper to enable me to do the portion that has to do with the specification

my topic is “the impact of domestic revenue mobilization.

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Here's How I Get the Perfect Lighting for My Mobile Photos

Lighting is everything in photography, especially if you're shooting with a smartphone.

Quick Links

• Using My Phone Camera’s Brightness Feature
• Shooting With My Back to the Light Source
• Using Natural Light to My Advantage
• Finding and Using Light Spots Indoors
• Only Using Flash Indoors

Key Takeaways

• Smartphones are capable of producing great images if you know how to use lighting properly.
• Shoot with your back against the light source to balance lighting and allow more light in your pictures.
• Maximize natural light for fantastic mobile photos; wait for golden hour or take advantage of light spots indoors.

You don’t need a full-frame camera to get amazing photos; your smartphone is more than enough if you know how to use lighting properly. Here are five ways that I get the perfect lighting for my smartphone pictures.

1 Using My Phone Camera’s Brightness Feature

Sure, you can’t control ISO on most smartphones. However, you can still adjust the brightness on most modern devices, and I recommend doing that to get the best results with your mobile photography.

How you control your phone camera brightness depends on your device, but you’ll normally have to tap the screen once. A sun icon will then appear; move it up or down, depending on your preferences.

2 Shooting With My Back to the Light Source

You can create cool effects like lens flare by facing a direct light source, but unless you’re doing that, I’d recommend turning your back. Smartphone cameras are often quite bad at taking photos when facing direct light, and you’ll get way too much contrast in your images.

By shooting with your back against the main light source, you’ll allow more light to come into your picture. You will also notice that your photos look more balanced. To really up your game, you might want to also try these cool smartphone photography trips that actually work .

3 Using Natural Light to My Advantage

Artificial lighting certainly has its place in photography, and I’m actually going to talk about it more in the next few sections. However, one of the best ways I get fantastic lighting in my mobile photos is by maximizing natural light.

When you take photos outside, you can use the sun to your advantage. It’s possible to take photos in harsh lighting , but you’re better off waiting until the sun is lower in the sky (i.e. morning or afternoon). Golden hour is one of the best times to shoot, and you can use plenty of golden hour captions on social media to help your photo stand out even more.

You can still use natural light to your advantage when photographing indoors. If your main aim is to not need extra lights, wait until around midday. However, you can create more subtle shots by capturing your images early or late in the day instead.

4 Finding and Using Light Spots Indoors

Indoor photography is where I’d argue that smartphones have an advantage over mirrorless and DSLR cameras (if you’re shooting handheld, anyway). To achieve better lighting in your images, look for and use light spots.

For example, if artificial lights are on, place your camera near them—this works especially well with food photography. You can also place your camera near windows or use shadows for creative effect.

If you decide to use more artificial lighting in your photos, consider checking out these light modifiers and how to best use them .

5 Only Using Flash Indoors

I’ve used flash on my smartphone a few times when taking photos outdoors, and it has rarely ended well. I think that it’s much better to look for artificial lights when shooting in low-light situations and move your phone closer to them.

At the same time, I think that smartphone camera flash photography works quite well indoors. This is especially true when you’re at social gatherings like dinner parties. In my opinion, flash can bring out your subject’s best features. For these reasons, I’d recommend using flash only indoors most of the time. You can experiment when outside, but don't expect miracles.

Whether you’re inside or outside, there are plenty of ways you can make your smartphone photos look better by mastering your lighting. Use natural light to your advantage, and avoid shooting in the direction of your light source if possible. Also consider turning on your flash, but do so sparingly.

LGBTQ+ Pride

A Smithsonian magazine special report

See Photos of Gay Men in Love Dating Back to the 1850s

A new exhibition features romantic snapshots found at flea markets, antique shops and online auctions

Daily Correspondent

In a series of photographs, men from around the world kiss, hug, picnic and gaze into each others’ eyes. So far, more than 4,000 such images—all taken between the 1850s and 1950s—have been found.

Now, 400 of these romantic snapshots are on display at the Musée Rath in Geneva, Switzerland, which hosts the Musee d’Art et d’Histoire ’s temporary exhibitions. The show, titled “ Loving ,” is based on the 2020 photography book  Loving: A Photographic History of Men in Love by Hugh Nini and Neal Treadwell.

View this post on Instagram A post shared by MAH Genève (@mahgeneve)

“The pictures adopt the same staging as for heterosexual couples: couples pose at the bow of a ship, on the branch of a tree, at the beach, in the forest and in bed, and they sometimes also simulate a wedding stance,” per a statement from the Musee d’Art et d’Histoire. “All social classes and ages are represented, from workers to businessmen, including students, soldiers and sailors.”

Many of the photographs were in near-perfect condition when Nini and Treadwell found them, which suggests they were safely hidden away somewhere over the decades. The men likely just “wanted to have something to remember themselves by,” as Treadwell tells  Reuters ’ Denis Balibouse and Gabrielle Tétrault-Farber.

Now, for the first time, the book and exhibition mean that “these couples get to speak for themselves,” as Nini told  CNN ’s Oscar Holland in 2020. “They couldn’t do it when they were alive, but they can do it now, and I think that’s really powerful.”

View this post on Instagram A post shared by Neal&Hugh “LOVING” the book. (@lovingbynealandhugh)

Nini and Treadwell, who have been together for more than 30 years, stumbled upon the first photograph in their collection at an antique shop in Dallas, Texas. Taken in 1927, the snapshot showed two men embracing. Nini and Treadwell saw themselves in the photograph and decided to bring it home.

They thought that first photograph was just a one-off, and they didn’t expect to find others like it. With time, however, they found plenty—far more than they needed to fill a book.

Following the photography book’s publication in 2020, the images resonated with readers all over the world. Loving is available in five languages: French, English, Italian, German and Spanish.

Nini and Treadwell hope that the new exhibition—and shows like it in the future—will continue to spread the message that “love is love,” as Treadwell tells the  Art Newspaper ’s Karen Chernick.

“Love has been around forever,” he adds.

“ Loving ” is on view at the Musée Rath in Geneva, Switzerland, through September 24 .

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Sarah Kuta | READ MORE

Sarah Kuta is a writer and editor based in Longmont, Colorado. She covers history, science, travel, food and beverage, sustainability, economics and other topics.

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Reloading Technique: How To Properly Skin A Cat

A dissertation on reloading technique and practices.

“What are you doing? I would never run dirty brass though my resizing die!”

Talk to 10 dedicated reloaders, and I’ll wager you get 10 different techniques and opinions, even if the differences are subtle. Is there one proper technique for the process of reloading centerfire rifle and pistol ammunition? There are, after all, myriad tools available to the reloader.

While some are deemed frivolous, others are must-haves. Flip through the front section of almost any worthy reloading manual and you'll find some sort of step-by-step instructions pertaining to the procedure of reloading metallic cartridge ammo.

While those generic instructions are not wrong, somewhere along the line we all develop certain habits and adopt techniques that might work for some … while seeming completely foreign to others. Referring to my opening quote, some folks will run any old dirty piece of brass into a resizing die, while others insist the brass be not only already de-primed, but cleaned, tumbled and polished before it changes shape.

Which is the proper method?

Well, it’ll depend on your personal taste, and how much of a neat freak you are. You certainly shouldn’t put any case with actual dirt on it—say a pickup from the range—into your die, but if there’s some burnt powder residue, it won’t hurt your die, especially if you clean your dies regularly, which I definitely recommend. If the idea still offends you, perhaps the use of a universal de-capping die—one designed for the sole purpose of removing the spent primer—will allow you to clean the case inside and out before resizing it. This does minimize residue and debris in the die, and I do this sometimes, especially when reloading cases that were previously loaded with especially dirty-burning powder.

Primers can be another hotbed of discussion—whether they’re installed with a hand-priming unit or primed from the press. Some guys demand absolute uniformity in primer-seating depth, while others feel that so long as the primer is seated flush or slightly recessed, all is right in the universe.

Having spent a fair amount of time at the Norma Ammunition plant in Sweden, I've seen the effects of uniformly seated primers—they have special tools to measure the depth of primers before their ammo is sent to the public—and it does make an appreciable difference. Where the precision shooter will be very concerned with this feature, the high-volume loader who knows how to consistently work the handle of Dillon 550 will be perfectly happy with what that excellent machine provides.

Personally, I like to install my primers by hand, as I feel the press can generate too much force at times.

The method of loading powder and seating bullets—whether you charge all the cases in a block and then begin seating projectiles, or charge an individual case and then immediately seat the bullet—is debatable as well. You’ll see photos of large blocks of cases, sometimes a hundred at a time, being charged with powder, each awaiting a turn for its projectile. While I know this system works well for many folks, I've also seen it lead to near-disaster.

If, for example, you were loading for a .300 Weatherby Magnum, the sheer volume of the powder required will easily prevent a double charge; the case simply won’t hold it. But switch to a .357 Magnum, .38 Special or .45 ACP, and it’s a much different story. Not only can all of these cases easily be double charged, but the charge weight may also be so small that a double charge might not be immediately visible.

In this author’s opinion, safety takes precedence over time saved, and my own technique is to charge a case with powder and then immediately seat the projectile. This way I can visually verify that there is no powder (or anything else) in the case before dumping the powder charge, and once installed there is no risk of double charging. Habits are going to form—good or bad—and I always err on the side of caution.

Want to start an argument among reloaders? Ask whether you should weigh every powder charge. Oh, will the sparks fly! “Benchrest shooters load by volume.” “I’ve used a powder thrower since I was a boy.” “Only certain powders will meter properly in those volumetric powder throwers.” “You’re wasting your time weighing every charge; it just isn’t that important.” Some of these statements may be true and applicable, but after spending more than 3 decades handloading the vast majority of my ammunition, in rifle calibers ranging from the .17s up to the .500s, I've found that uniformity leads to consistency, and therefore accuracy.

Just as I wouldn’t want to purchase a box of projectiles only to find the weight varies drastically, I want my powder charges to be as uniform as possible. Weighing each individual charge has given me the best results, and should you have an alternative method that works (and maintains safety), so be it. The modern electronic powder dispensers operate quickly and easily enough to accommodate my reloading style, and I sleep better at night knowing each charge was weighed.

I also get many questions about the use of progressive presses, especially regarding the consistency, uniformity and safety. Certainly, the Dillon progressives are at the top of the heap, and the RCBS stuff of late is much better than it ever was, but the fact remains that there are so many operations happening simultaneously that it’s nearly impossible to monitor all at once. Call me a control freak, but I want to have my hands on these operations, so that I can ensure that something hasn’t come out of adjustment—such as the volumetric powder dispenser—and that all the primers are not only present, but seated properly.

Don’t get me wrong: I’ve shot some wonderful ammunition made on a Dillon 550 or 650, but my own personal tastes and preference lean so heavily toward single-stage loading that the Redding T7 turret press is about as far as I feel comfortable going. If you like the idea of a progressive press, and there are many reasons to do so, realize that rigorous inspection of the final product is a fantastic idea; it may save a firearm … or a life.

“You can’t do that.” Sometimes it rings true, and other times we reloaders need to realize there’s more than one way to skin a cat.

Editor's Note:  This article originally appeared in the July 2024 issue of  Gun Digest the Magazine .

More On Reloading:

• Tips For Reloading the .30-06 Springfield
• Loving Your Luger: Reloading the 9mm Luger
• Handloading: Tips For Reloading The 7mm Rem Mag
• How To: Tips For Reloading the .223 Remington
• Reloading Bench: The Inside On Reloading For The .30-30 Winchester

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Apple needs to explain that bug that resurfaced deleted photos

When you delete a photo, you expect it to be gone for good..

By Victoria Song , a senior reporter focusing on wearables, health tech, and more with 12 years of experience. Before coming to The Verge, she worked for Gizmodo and PC Magazine.

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Earlier today, Apple issued a fix in iOS and iPadOS 17.5.1 . Patching buggy software is a good, normal thing. But that’s not the issue here. The issue is that the fix “addresses a rare issue where photos that experienced database corruption could reappear in the Photos library even if they were deleted” — and that’s all Apple has to say about it.

On iOS, deleted photos technically spend 30 days in the Recently Deleted folder before disappearing for good, but the intent to send a photo to digital oblivion is still there. A reasonable person would expect a deleted file to stay that way. That’s why it’s understandable that people freaked out last week when photos deleted years ago had suddenly reappeared in their iPhone photo library .

This is obviously a privacy concern. It raises valid questions as to how Apple stores photo data and whether iPhone owners can truly trust that their deleted data is actually deleted. The Verge has reached out to Apple multiple times to comment publicly on the matter but has yet to receive a response. Doing so would at least shed light on why this bug happened, what’s been done to fix it, and what it’s doing to ensure that this won’t happen again. However, Apple has yet to respond.

What’s troubling is that, so long as Apple remains silent, we have no idea of how far this bug goes. Some iPhone owners have reported the same thing happening with deleted voicemails . Did the bug only impact people who use iCloud photo backups? Another post claimed that old photos appeared on an iPad that was sold to another person. All today’s fix confirms that this bug did exist, it was a problem, and it had something to do with database corruption. And by ignoring requests to comment publicly on the matter, it doesn’t impart confidence that this won’t happen again.

Apple’s new iPhone update fixes a bug that resurfaced deleted nudes

• iPhone owners say the latest iOS update is resurfacing deleted nudes 

Sure, you could push your glasses up your nose and say, “Well actually, no file is ever really deleted until it’s overwritten...” And while that is true, a reasonable customer would expect that when Apple says a deleted file is permanently deleted, this sort of thing shouldn’t even be possible.

Mistakes and goofs happen. Cybersecurity researchers find bugs and vulnerabilities all the time. Often, they report the issues to the companies involved before they can be exploited and only divulge the weaknesses after they’ve been fixed. It’d be reasonable if Apple wanted to wait until the bug was fixed to prevent bad actors from exploiting the situation. However, that doesn’t give them the pass to stay mum on the issue forever.

If anything, Apple ought to comment simply because it markets itself as a company that cares about your privacy. It’s spent countless WWDC keynotes talking about software updates to keep your data encrypted so that not even Apple knows what’s going on on your phone. That you can trust its services because privacy is a fundamental, core tenet of its philosophy. Responsible disclosure and transparency are the hallmarks of a company that truly believes in protecting your privacy. Brushing things under the rug? Not so much.

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The 7 Best Free Online AI Photo Editors

• Free AI photo editing tools make it easy for anyone to enhance their photos with just a single click. Canva, Autoenhance.ai, and LunaPic are some of the best options available.
• Canva offers auto-enhancement features and Magic Edit tool. Autoenhance.ai provides sky replacement, perspective correction, and image relighting. LunaPic allows for various photo effects and has tools for creating animations and GIFs.
• Pixlr offers basic photo editing features and has a paid tier with additional assets and editing tools. Google Photos has AI editing tools for quick edits. iPiccy is a strong, free AI-powered editor with numerous effects. YouCam Enhance is a simple tool for brightness and sharpness adjustments.

Thanks to advancements in AI, you don't need to be an expert in Photoshop in order to make your photos look good. Free AI photo editing tools online make it easy to enhance your photos—and sometimes, all it takes is a single click. In this article, we'll discuss some of the best free AI online photo editors that you can use today.

Canva is a popular tool with graphic designers, and it's also an excellent choice if you want a free AI online photo editor. You can auto-enhance your photos without paying for a premium version of Canva, and this feature will adjust your colors and brightness—plus various other areas.

With Canva, you can also access the Magic Edit tool with a free account. With Magic Edit, you can describe what you want the app to change and select how much of the image you want to change with the brush. If you want to learn more, we have a complete guide on how to transform your images with Canva Magic Edit .

2. Autoenhance.ai

If you don't want to go through the hassle of carefully manipulating every aspect of your images, you should consider checking out Autoenhance. It offers three core features:

• Sky replacement
• Perspective correction
• Image relighting

There's also an API that you can use to integrate Autoenhance into your own applications. It's entirely free to use (even the API), but only for up to 15 images. There is an option to pay as you go, or you can also choose from different bundles.

Autoenhane is fairly simple to use; upload an image, and the AI will automatically edit it for you. You can also choose whether you want to edit HDR for your image. The edited photos are instantly available for download. If you want a speedy photo editing workflow , this is a great online app to use.

LunaPic is a simple AI online photo editing tool that even has its own Chrome extension. To use LunaPic, you just upload an image, select from one of the many art effects, and wait for the AI to do its job.

LunaPic gives you a whole array of features for editing photos apart from simple art effects. You can adjust light levels and add a ton of different filters, art, and other effects. It also has tools for creating video animations and GIFs.

This AI editor also gives you basic features like cropping images, rotating them, and removing or replacing the background as you see fit. You can even add captions to your photos, or share them directly on popular social media platforms.

Pixlr is a free-to-use photo editing tool that offers all the basic features you would expect from a high-end photo editor. These include background removal (there is a separate app for that), adding filters and effects, animations, and making picture collages.

Pixlr also has a paid tier that gives you access to thousands of photo overlays, additional assets, stickers, tutorials, and some exclusive editing tools. You can even open images directly from cloud storage platforms like Google Drive and Dropbox, making it an ideal choice for professionals who just want to make some minor edits.

5. Google Photos

The eponymous Google Photos might be a photo storage and sharing service at its core, but it has a few AI editing tools that you can use to quickly brush up your photos. Obviously, these features aren't as varied as the other editors on this list, but it's still ideal for those tiny edits.

For starters, Google Photos lets you automatically fix the lighting in your photos with a single click. Or, if you want more control, there are sliders for fixing the lighting, the contrast, and a few other details. Apart from that, Google Photos also has a bunch of different effects that you can choose from.

It's incredibly convenient too, especially since many Android users organize their pictures with Google Photos .

iPiccy is an excellent AI-powered online photo editing tool. It works just as well on mobile too, so it's great for editing photos on the fly. The editor features 100+ effects, a collage maker, and even offers functionality for basic graphic design.

From fixing the exposure, vibrancy, or the image's sharpness to extracting details, adding or removing shadows and highlights, and even changing the backgrounds, iPiccy's full-fledged photo editor is great to use. And you can create an account to save your photos in the cloud.

Given the fact that it's completely free, iPiccy packs a strong punch. It even has many photo effects that you can choose from, making it a great choice for editing your photos quickly.

Another popular tool that's quite effective for simple photo touch-ups is YouCam Enhance. Once you upload a photo, it automatically adds a watermark on the bottom-left and lets you use a slider to see the difference between the enhanced screenshot and your original. It is possible to remove the watermark by signing up for an account, so you may want to do that if you're not interested in cropping your images too much.

You can zoom in or out, but that's mostly it. YouCam Enhance doesn't give you any additional controls or let you tinker with specific settings. However, if you need a simple tool to enhance the brightness and sharpness of an image, this is a decent choice.

AI Photo Editing Is Changing the Game

Previously, editors had to make a bunch of fine tweaks to get their photos to look good. Now, with AI photo editors, it's much easier, especially when they're free and available online. Many of these editors generate revenue through advertising, while some offer a paid upgrade with more features.

If you are serious about becoming a graphic designer or photo editor, you should also consider getting a new monitor, especially one that is able to reproduce colors accurately on the screen. With a decent monitor, you can see how your photos will actually look once you edit them using any of these tools.